Sidebar: A Suits Watch Podcast - Bail Out

Episode Date: November 12, 2024

This week Sarah and Patrick are talking season 1, episode 5, Bail Out!  Patrick recounts his meeting with a bear, and we introduce a new segment - the Motherload - where Patrick’s mom sends her hot takes on the episode. We answer the age old question - can you really crochet pantyhose, and dive deep into the scene that changed Donna’s trajectory for the rest of the series. Finally, we attempt to solve one of the great Suits mysteries: where on earth is the Mike Ross doll? If you know, reach out to us at the below email! Email us a voice memo of your questions about Suits at [e-mail]. We may use it on the show!Follow us on Instagram & TikTok - @suitssidebarGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/sidebar

I'm Patrick Adams. You may know me as Mike Ross from Suits. And I'm Sarah Rafferty and you may know me as Donna Paulson on Suits. I do know you as Donna Paulson from Suits. You were fantastic on that show. You were really great as Mike Ross. Do you know my mom loved you on that show? Oh, my god. We're going to get into moms later today. This is Sidebar, a Suits Rewatch podcast, or actually a Suits Watch podcast,

because Sarah and I have never actually watched the show. How are you, Patrick? I'm good. I'm still here in Montana. I hate that I'm not in the room with you. You know, I don't like that. I miss you. But I love that we have all this technology

to bring us together. I know. It really is a gift of the modern age, isn't it? I had a run-in with a bear. Did I tell you this? You mentioned it since we both have bear spray right now. I've mentioned this to everybody. So it's not surprising.

Yeah, I went on a hike the other day here in Montana. I've been avoiding the hike because I did not want to run into a bear. And I was like, I'm, I went on a hike the other day here in Montana. I've been avoiding the hike because I did not want to run into a bear. And I was like, I'm sure I'm going to be the guy that runs into a bear. And everybody was like, nah, it's a little late in the season. It's a, it's a busy hike. And sure enough, went on the hike, got up to this beautiful lake on my way down 10 feet from a bear on the trail alone. Did you soil it yourself? Came pretty close, managed I did spray, and it was effective. Okay, so I went to buy bear spray the other day, and I learned that you have to put it in a holster. Were you wearing a holster?

Because I care about the accessories that people have and wear. Yes, yes, you have to have it in the holster because it needs to be accessible instantly. So it wasn't in your backpack? No, if you have it in your backpack, your bear food. If a bear comes for you, it's so fast, it's so fast that you can't even see it. So you have to have it in the holster because it needs to be accessible instantly. So it wasn't in your backpack? No, if you have it in your backpack, you're barefoot.

If a bear comes for you, it's so fast, you need to be able to get it. Now luckily, this bear that came for me, it did not come for me. Even in my mind, I'm like changing the story. It did not come for me. It was very much just there. And I did not want it to be there. It did not like run at me. That would have been a soil situation. So the thing is, the thing is back to the bear spray since you are my tech support.

Yeah. And since I own bear spray, how do you, do you like pull a pin and then discharge it like it's a spray? Yeah, yeah. Yeah, you pull it back a little thing on top and then it releases the trigger and you shoot. And you usually get about 30 or 40 feet out of the bear spray, but only for about eight seconds. That's all you have. That's all you need if you use it wisely and make sure you don't do it into the wind. That's what I was going to say. You knew where the wind was. I was in the woods so there wasn't really any wind. I was okay. Okay. But I was aware of I did consider that before I hit the trigger. And did you you had to hit the trigger like he it looked at you and started approaching?

In my telling of the story, yes, I had to pull the trigger. If there was an independent study done of this interaction and somebody watched back the tapes, it would probably be fair to say I did not have to pull the trigger. And could you name the variety? In my mind, this was a 10 footall bear that was coming to end my life. It was the biggest bear on Earth,

and it was the scariest bear that's ever lived. In reality, it was probably a small cub that was completely disinterested in me and ran away. But because... No, you were in the Revenant. You were in the Revenant. Just keep it that way. Yes, I was very much in the Revenant, yeah.

Except I won. Yeah. Where Leo failed, I succeeded. You know, I had a encounter kind of at the same time with a rattlesnake. In Alberta. No, in Alberta, we did have an encounter with a grizzly bear, not to top your story,

but two years ago, I was with my beautiful fake sons. Yeah. Did I tell you this story? No. That we were doing the most beautiful hike in Banff. And I should preface this by saying spend a lot of time in Vermont. I think you know how much I love Vermont. And we have a lot of black bears in Vermont and they are cute. I mean, you don't get near them, but they're not coming for you as their food, right?

Black bears. Yeah. The ones that are in kind of our yard and stuff. I mean, you just give them their space, but you don't panic, really. So we are on this hike in Banff, and it's a long hike, and I found it very taxing. But we were going up to these ink pots, and I didn't know what those were. It was some sort of natural formation of beautiful scenic water thing called the ink pots.

And we had just committed, we had just like gotten hours into our hike and we were about to plateau where we were gonna see this thing. And all these people were running the other direction. And I'm huffing and puffing and I'm like, what's going on? And they're like, run bear.

And of course I was like, okay, what kind of bear? Did you say it just like that? I was like, hang on, I've been to Vermont, what kind of bear? Okay, good. And then somebody was like, Grizzly, run or you're gonna be lunch. And I was like, oh man, and I ran the other direction. Yeah, I did a lot of YouTubing of Grizzlies once.

I did not have a run-in with a Grizzly to be clear, but I did a lot of YouTubing of Grizzlies once. I did not have a run-in with a Grizzly to be clear, but I did a lot of YouTubing of Grizzly run-ins and I would love to avoid that at all costs. Look, for the record, last weekend I was gonna go for a hike by myself with bear spray and canineuscus and I started the drive and then I was like, you know, I'm not doing this. Yeah. I'm not going by myself. No, it's a good idea to go with people and you should have a bell on your bag is what I heard.

Yeah. So that they can hear you. Anyway, we digress. But I want to say one thing before we undigress. Oh yeah, yeah, please. Which is I'm really impressed that you carry a prophylactic spray to protect yourself while you're on a hike because you're the guy who argues against helmets. So, okay. Hmm. Interesting. You're picking and choosing your protection. That's interesting. That is very interesting. You're cherry picking protection. One is because I feel somewhat in control. Again, I never want to be perceived as someone defending

not wearing a helmet. Like I know that I should be wearing a helmet, but there's something in my mind where I'm like I'm going out for five minutes on the bike. I'm in control of the thing. I'm gonna be smart. The bear spray is like I have no control over where the bear is gonna come out. Like I can't do anything about that. Fair, fair. Yeah, anyway, it's not it's not a defense, you know, helmet. Everyone wear a helmet. I hear you. I trust you. Before we dive into our episode today, which we're excited to do, we should just acknowledge that our podcast is out in the world. We should.

It has been born and shared with the fans because it's been super exciting, vulnerable, crazy. It's full of anxiety and excitement. And I, you know. Yeah. But look, it's kind of the same thing that we experienced on Suits with not watching Suits, right? There was a vulnerability that we shied away from until now when we thought let's process it. So there's, we're sort of having a mini version of that with having this launched into the world. 100%. And to loop back to what you were just saying

about the bear, like versus the bike, this is something that we have more control over. So we can say to anybody listening right now, we do wanna hear from you and we do want the feedback and we do want more of your questions. We do wanna engage more. 100%. Well, we're loving hearing from everybody

and seeing the reaction online is fantastic. And I joined Reddit and I don't know how it works, but I'm meeting a lot of great people in there who are huge fans of the show. So that's been great. So you'll catch me up on what that means. I'll walk you through that. Maybe let's just start off with a fan question here.

How do you feel about that? Oh, sure. Can you read it to me? We have a question from Trisha. She asks if Mike and Donna each had a theme song, what would it be? And then she also asked what would Donna's morning routine look like?

And would she do get ready with me videos? Do you know what those are? Oh, I think I know what those are. You have. What is your theme song? Go. No, I need you to go. Yeah, you go. It's probably something LCD sound

system because that's what gets me pumped up. Smooth Criminal by Michael Jackson. Oh. I'm trying to think of songs that maybe play into the fraud of it all. Hmm. Or something that just pumps me up like Seven Nation Army or something. Nice. Baseline it definitely has a good baseline like everything in suits. I always think about blame it on the boogie do you remember the first time you and I were dancing on set? And you were singing Blame It on the Boogie? That's Donna's theme song. Does she make get ready videos to that song?

No. I would actually like to put this question back to the fans. I think theme songs for all the characters would be really interesting to hear what people say. Because when I get that question, which is such a great question and really requires some more thinking and deep thoughts about,

because obviously, I don't know about you, but I used music depending on what was happening in the storyline, just kind of sitting around, listening to music. Totally. To get you ready for a scene, but when I think of the answer to that, I can only think of joke answers. I can only think of like joke answers.

Like I can only be like, oh, like a virgin or like Madonna, you know, holiday. I think what is interesting too is from the perspective of me, the lady who played Donna from the perspective of outside of Donna or Donna's perspective. Like what would Donna pick? You know what I mean? Oh, you're getting meta. You're going, you're going, you're going.

No, but like the joke one, like I'm too sexy. You know what I mean? Like what she picks on it. She has a huge, she was very vain. So yes, she would do get ready with me videos probably. Not to say that that's a vanity project, but like Donna appreciated herself in a colossal way. I think she would think she was something like Bohemian Rhapsody, honestly, something that had a little bit of everything in it that was like complex, like had- Rock opera.

Yeah, exactly. There we go. Bohemian Rhapsody is what Donna would choose for herself. Epic rock opera. So should we get into the episode or what? Yes. All right, here's the episode or what? Yes. All right, here's the brief. Today we are breaking down season one, episode five,

Bail Out. This episode was written by Ethan Drogen and directed by Kate Woods. Originally aired on Thursday, July 21st, 2011. In Bail Out, Trevor is back and needs Mike's help. And while Harvey is attempting to close a massive deal, he's also defending his trusted driver in a lawsuit. Okay, well, opening statements about this episode,

bail out. Okay, yeah. What do you have to say? What do you want to say before we dive in? I just want to tell you, I'm really surprised by how much I have to say about this episode. So make yourself comfortable, please, sir.

Sit back and relax. A couple of things, a couple of things that I want to tell you this episode, and I didn't know, I didn't remember this going into it, but this episode contains a scene that I think changed my life because I think it changed Donna's trajectory. I had some moments where there were some like, challenging memories that I had. So I guess we'll get into that. And for the first time, I had a little bit of a like resistance to some plot points that I found really interesting, not as like a, I have a bone to pick or to yuck a yum, but it was actually great because what it showed me was that even though for me personally, there were little plot moments that I hadn't here

that I was like, hmm, it did not distract from my enjoyment of the episode at all. And in fact, I think it made me realize how invested I am in the characters and in the story regardless, because of the way the writing is so character-based. Like it's not a procedural, you know? It's just, it's a show about people.

That's great. I mean, for me going into this, I think, you know, and we're gonna talk about all of those things more specifically, and I think I had a similar experience and it's, you know, and we're gonna talk about all of those things more specifically, and I think I had a similar experience. And it's, you know, we're still, like, I can still see the growing pains of the show. I can still see the show trying to figure out what works, what doesn't work, the best thing. And it's really exciting because there's moments where I'm like, why isn't that's not quite working the way I remembered suits starting to work at one point?

Or that I'm not quite, I'm not, I'm not lucked in the way that I would have thought I would be or oh I could have done that better and then you come Across the scene or a moment and I think it's the same one that we'll talk about for you and for Donna Where something drops in and you feel something fundamental? Built yeah being foundational just drop in and click and you're like, oh wow That's where we just found a gear that we didn't know we had. And once you find it and it's there, you're not going to forget it. And it's so exciting to see the click in it. And I think that's probably why audiences wanted to keep tuning back in, you know, because, because they would feel it. They'd go, oh, something just happened. I want to see that happen again. Right. All right. So let's get

into it. All right. Obviously we start with a teaser. Louis is still trying to prove Mike didn't go to Harvard, but Harvey swoops in and scares Lewis off. Harvey then hands Mike his own business card. It's official. Later, Mike receives a surprise call from jail. It's Trevor, his former best friend. Mike bails him out and Trevor swears he is no longer dealing drugs. And also Jenny has broken up with him. How about that 10,000 Men of Harvard song right off the bat and everybody's singing it? It's really hard to find and it's a pretty weird song. It's got like a mixture of Latin and English and it's a perfect song for Lewis to be singing. So I loved this like parade into like the bullpen And when you started to pretend,

when Mike started to like try to sing along with it, and also Rick is embodying like the douchiest version of himself, it just cracked me up so much. I just loved it. And it was quick. It was just like a, it was just such a great way to start an episode. I think it's like, the more like the show finds these silly things for Rick to do, like sing a song.

I think we get into it with cats and stuff later, like things that any other actor, it would be like, oh, that's too silly. Like that's not grounded in reality. We can't do that. But he's so good that he grounds silly, like singing 10,000 Men of Harvard so deeply that you just fall more and more in love with him. It's the thing as an actor that I admire so much about him is his ability to be silly but completely grounded. And take it so seriously, so seriously that I have to take it seriously. Yes. It's like a superpower.

Yes. Oh my gosh. It's a superpower. And Aaron talked about that in this episode when I spoke to him last night. He talked about how they were leaning into more and more the idea of Louis being a buffoon. And then, you know, what you said about how he can ground that unlike anybody else. Yeah. That's why we love to hate him. We love to love him, we love all the things that Rick brought to Louis. He understood how to be a buffoon, but he never played into the buffoonery.

Does that make sense? Yeah. He plays it so honestly that it makes it that much funnier, but also makes it feel honest and like I feel for him. Cause the, so the more buffoon he becomes, the more I kind of feel for him. Cause I'm like, oh my God, that poor man doesn't know what a buffoon he is, you know, that was the genius of Rick I'm very excited

So hopefully talk to Rick one day about it and about like if that just came naturally to him or if that was a conscious Decision to do that. Yeah, it's gonna be a good conversation All right Then we're in the conference room Jessica leads a meeting where we learn about our case of the week. The Joyful Toy Company has a $200 million licensing deal on the table. All Harvey and Mike have to do is get the CEO to agree to the terms. Then Mike gets a call mid-meeting. It's Trevor. He's been arrested and he needs a bailout.

And he was arrested for, did you catch what he said on the phone? It was the second time watching it through. He said for hopping a bus to Port Authority. Did he maybe hop the payment kiosk? Yeah, like what's, is he that, he's that hard up? Like he didn't have bus fare. He's just trying to get out of town. Well, we'll get into it.

I guess we'll figure it out. Well, I mean, I think what's interesting is we don't need to know. Like again, we're discovering things we don't totally need to know to be fully invested, but Patrick, I just wanna make... First of all, you guys are all on BlackBerry's, which I think is particularly fun. Yeah, I'd be curious to keep track

of how many times we change phones on this show and when. That will be your department for sure, not mine. But so I love that Mike doesn't know how to silence his phone. And I do realize that we weren't really close friends yet at that point, but I want you to know that like retrospectively, I feel like you were making fun of me in that moment. And I feel attacked across time. Not you personally, but just the person that doesn't know how to silence their phone.

I was surprised Mike doesn't know how to silence his phone, but I guess- Was that hard for you to act? Yeah, I was surprised Mike doesn't know how to silence his phone, but I guess- Was that hard for you to act? Yeah, I had to really do some work on that. Yeah. So, okay, so we cut to Mike waiting for Trevor outside the jail, and Trevor apologizes,

and Mike reluctantly forgives him. So how did you feel about that moment? I'm just down at this point in the episode to see Trevor again, because I love what Trevor does to Mike. For me, I think I just, as an actor, and like the push and pull of the old world and the friend that's sort of bad news,

but he's still a part of your old life, I think as a viewer, I'm stoked. I'm very happy to see Trevor back in the mix and worried for my friend Mike and what this is gonna mean for him. But I was surprised that I thought that Mike might possibly be engaging with him to get some sort of retribution.

And I was surprised by like that cynicism that came up with me. But I realized like I don't totally know Mike yet, right? Cause it's episode five. So what is Mike gonna do here? Like what's gonna happen? Yeah. And is he gonna, you know, Mike's got a secret now.

Who's he gonna tell? And as a result, we get that's a great end of the teaser because Mike and Trevor are catching up in the coffee shop. Trevor asks if Mike knows any good lawyers and he says, no, he doesn't. And we smash into those opening credits, so. Yeah. You know what?

I think when we come back, we are going to police a little bit of the fashion, and we're going to get to one of my favorite scenes of all time. All right, we'll be right back. MUSIC All right, we're back, and we're getting into act one. Harvey, Mike and driver Ray, who were meeting for the first time, they get into an accident

with a cab driver, which leads to Harvey being named as a co-defendant in a lawsuit. Mike takes the meeting with the Joyful Toy Company CEO, Joy, to not so stellar results. So first of all, we're outside the office, Mike riding up his bike, and he's not wearing a helmet. Why are you not wearing a helmet? Because your hair looks pretty? Because I'm not on the streets. OK, so then we get to meet Harvey's trusted driver, Ray, played by Anand Rajaram.

And Ray tells Mike that they won't be late for their meeting. I mean, best, I think, early contender for the best needle drop of the episode, Fool No More by Eddie Hope. It's like worked into the scene, which is great. It's fun to see Gabriel's music aficionado-ism coming out in this scene. Yeah, Harvey's. Yeah, yeah, yeah.

Yeah, great song. And I was really excited to see Ray because he looms really large in my memory. And I think that's a little bit because of social media, like how you were talking about that scene in the pilot and TikTok and how that kept coming up for you. There is a scene that's coming up between Donna and Ray where they interact, and there's a really great line in there.

So I think that's one of the reasons why it figures so prominently. Um, but also because I think this is an episode where we do get to see some character development for Donna for the first time. So I think that's, and that had a lot to do with Ray. So I'm really, my heart leapt to see him again because I didn't really realize that this was that episode. But I think the music instantly makes the scenes feel so cool. And then Harvey hands Ray a CD.

And I don't know about you, but when I saw a CD, I was like, are we like getting in a... Oh, yeah. ...chug wagon? Like, it seemed like such an anachronism. I just love the idea of Harvey Specter at home, like, on his laptop, figuring out how to burn a CD. Like, do you remember what that was like back in the day, trying to burn a compact disc for kids

that don't know what that was? but it was like a whole thing. It took a minute to like figure it out. It was like click and drag the songs to the software to make the CD. I assume maybe Don is doing it for him, but I like the idea of Harvey doing it for himself. I can see Harvey doing it for himself because he's so protective about that,

but like you asked me about burning a CD. Let me ask you, did you make mixtapes? You did? Of course, especially for members of the opposite sex who I wanted to impress. Absolutely. Oh yeah, and you would decorate them. I still have a collection of the ones I received.

I've made a mixtape or two, but I've definitely made a mixed CD more. That was more my generation. We were deep into CDs by that point. My generation was you had to have the boombox with a two tape, because that's side by side so you can make them. And then you would, I had to like work on my penmanship. Because you had to design it. You had to make it look great.

Yeah. I wish this had had a little more flair. I wish the CD he handed him, like I wish they'd turned it to camera and it had a little bit more sort of like sixth grade girl handwriting. Oh yeah. Like Love to Ray, mixtape vibes. Do you want a true confession out of me right now? I love confessions. Have you ever been in my garage? Oh, it's a disaster.

Is that a euphemism? No, I've never been in your garage, Sarah. What's in your garage? Okay, well, I just want to preface this by saying this is unplanned, but you know, after all these years on this TV show, we had lived in LA, we had lived in Toronto, we had lived in New York prior to that. We then moved to LA and we had a garage where we literally put everything in the process of like, and then we'll unpack it and sort it.

Well, guess what? I have not unpacked and sorted all of it. The CDs. My point is in that garage are all my mixtapes, all in one box that I saved from all the suitors. Do you have a cassette player? Cause we should break those out. I think there's a Walkman down there somewhere, but like, this is the kind

of stuff I've got to throw out, but what am I going to do with my mixtapes? You give it to your daughter. Go find the 20 best mixtapes. Give her a Walkman when she goes to college. That's the coolest gift I've ever heard. Are you serious? Yeah. I still have some ksingles.

Now we're getting, that's for our tech podcast. And good night. Okay, moving on. Minutes into the drive, the car collides with a cab driven by Tony Santana, played by the amazing Jose Zuniga held up by the police Harvey sends Mike ahead to babysit the client until he can get there. He's so good right off the bat. I immediately saw him and was like oh my god that guy that guy I love that guy I love that guy he's so good where do I know him from? Everything. Right exactly. And then did you look him up? Yes but it's that thing. It's those actors.

It's those actors where you're like, that guy, that guy. And you can't, you might not know his name, but he's in everything. And he's always... In so much. I think our firm's best researcher, Kristin, discovered he has 148 credits and he's appeared on 81 television shows, including all iterations of Law and Order. Whoa. Kristin's particular favorite. I think including all iterations of Law and Order. Whoa. Kristen's particular favorite. I think she's seen every Law and Order too.

But clearly just he's such a he's an animal. He's been in everything. He's so good. And again, I think we've said this before on this, but like you cannot overstate how important it is, especially early in the show that when you have these people that are coming in for a single episode, how good they are makes us so much better. The quality of these actors that we're getting early in the show, I have no doubt has so much to do with why the show was successful in the first season.

It's not just us. Which is why we really need to get Bonnie Zane in here to talk to her about that process because we owe her so much. It's often that casting director, obviously it's the casting director who's bringing that person in, but just like that vision and also being able

to have the relationship with such great actors who then wanna come do the show because of that casting director reaching out to them, especially early on. I know you're wondering if that whistle that I whipped out at the cab scene was actually me doing it. I know you're wondering if that whistle that I whipped out at the cab scene was actually me doing it. I know you've been wondering it.

I know you've been thinking about it for a long time. I was about to ask you that. I was about to ask you that. Yes, it was. Really? You heard it here first. It's an exclusive. That's actually my whistle.

I'll do it for you here. Whistle. How did that feel? Was that good? It was so good. Oh my God. Whistle. Whistle. How did that feel? Was that good? It was so good. Oh my God. Now Mike arrives at Joy McCaffey's house played by the legendary Susan St. James.

Kate and Allie, I think, right, is what she was like best known for, Susan St. James. I mean, again, just been in so many things. Just seeing her, she has like such an ease and like authenticity when she's on that set. You know, it's just like she comes in and she looks so beautiful. And I am loving her wardrobe in this, like that chic camel ensemble that gives that quiet luxury kind of thing. Were you loving all the wardrobe? But then there was a necklace that I was like, please keep your luxury quieter. Like do not wear that. And also sound, sound must've been like,

really we gotta battle the sound of all those chains around her neck? Yeah, yeah, listener, so when you're on set and you have a necklace like the one you're wearing, and I mean, you know, that's where your mic always is put. You know, it's the first thing you get to set, they put a mic on you and it's usually right here because that's obviously closest to your mouth. So

usually they want to avoid anything in the in the chestal area that's making a lot of noise or banging. I highly encourage if you haven't seen this episode, go back and look at this necklace because never has there been a larger necklace, a necklace more designed to destroy a sound department than this necklace. But I want to say that maybe this was the initiation of the coastal grandma chic core. Yes, vibes. I'm happy about this necklace because now I know it's get you for Christmas. So Mike in this scene is sitting with some dolls and he ends up confiding in Joy that

he's impressed with her and that he's feeling guilty about not spending enough time with his grandmother. Okay, so I had a moment, Patrick, when she opens the doors to that dining room and then we see all the dolls lined up. I remember that when we table read this or when we first got this, I was confused. I was like, wait, what show are we on? This feels a little weird.

Like some very chic rich lady is having tea with dolls. I had completely missed it. Like I did not understand. Did you know what American Girl Doll was? Yeah, I knew, I think maybe what America, I was raised in Canada. We don't have Canada Girl Dolls. But I think at this point, I had been introduced to the concept of an American Girl Doll. But I feel the same way you did, which is...

And again, it sort of falls under the... For me, the banner of, like, beta testing how weird our show can be. Yes. Like, it's odd. It's just really odd. But it's also really funny. Yeah. You know, and it creates a great environment where you can see Mike try and It's odd, it's just really odd, but it's also really funny. Yeah. And it creates a great environment where you can see Mike try and figure out if this woman's serious and she's losing her mind

or if this is a funny thing that she just does. What is actually going on here? It doesn't totally work, because it is weird and it takes me a bit out of watching it because it does make me ask a lot of questions about who this woman is and what she's doing and did she have these dolls set up for Harvey and Mike? Was it a joke?

Like how eccentric is she? Yeah, exactly. But I think now that I'm talking to you about it, I realized that it's exactly kind of the show you wanna be on, the one that's checking to see how weird it can be, keeping it weird for a couple moments here and there. But then I had a moment,

and tell me what you think about this, where I like, just immediately, viscerally, cringed when Mike compared Joy to his grandmother. Like, I didn't know, like, do we do that? Like, can we just assume that she's a grandmother because we're assuming something about her age? I mean, she's like this big titan of industry, you know. I don't know. I think it's interesting that I found that to be some sort of

faux pas. I mean, I know that the plot entirely hinges on that, but I struggled with it. Did you? Like at the time or when you saw it? Maybe I don't want to say I struggled with it as much because I'm not a woman in the world and I imagine there's something very unique to being a woman in the world and seeing a man just sort of go, oh, you're like my grandmother, but it definitely rubbed me the wrong way a little bit. It's a thing I would never do in my life is just sort of start talking to an older woman and then not only comment on her age and her similarity in age to my grandmother, but also how impressive it is that she's doing her job.

That she's like, like, oh, it's amazing that a woman of your age is taking on a big thing, you know, clearly when she's very accomplished. So is there life post-menopause? Yeah, exactly. So, so it definitely, I caught on it for a second, but you know, I think we're gonna get into this whole plot line. I struggled a little bit to believe a lot of the pivoting of this character. For me as an actor, it's very hard to watch this moment. And I can't say that I remember it exactly, but I do remember the feeling as I watched the scene. I'm like, oh, this is something I felt a lot on Suits. Where I was like, oh, I got it. I got it. I don't have a lot of runway to do something that needs to be done

in order for the story to progress. Yeah, yeah. And so Mike returns to Harvey's office where Jessica informs them that Joy has had a change of heart, that she won't sign the licensing deal. So it's interesting that you said what you just said, because this is the moment that I was like, hmm, hmm, I don't think that's a, I'm not totally buying it.

Like, so what I'm saying to you right now is I wasn't taking issue with it as much when you were playing the beat, as much as when I was delivered the information in the next scene that she had made this decision based on something that Mike had done. I was like, she must've been thinking about that for a very long time, but it doesn't matter

because we're still just care about the characters. Oh, no, I'm right there with you. And I always have this voice in my head that I think is Aaron talking to, which, you know, maybe he'll say something different. But I just think you put the story up on a wall and you're just like, I just want to get from A to B to C to D. Sometimes it's gonna be more elegant and more believable, you know, and you can buy it. And sometimes maybe it's not as easy to do. And maybe that's also us as actors who didn't land the put.

But whatever it is, like, you have 42 minutes, and we got to get there. And so, the good news is, is that the show survives it. Yes. That's what I learned in this episode. So then Harvey Tastano was scheduling another tea party, but then all of a sudden, the pizza guy serves Harvey a notice. Harvey will be called as a witness in a suit against Ray. Okay, so I remember this moment because I remember that day on set when I had

asked Gabriel like how he did the I can't hear you gesture where he like from the pilot? Yeah, yeah. He points to his ear and then he's like I don't I didn't hear you, right? Yeah. And I asked him, I was like, do you think it would be a good idea if I just did it back to you in this moment? And he was really into it.

So when I did it, Kate, our director was like, ah, I don't know if that really works. She didn't know what I was doing. And then Gabriel kind of, along with me, we kind of talked about why we thought that this would be a way to show that these two characters have a mind meld, that this is like a shorthand that they do. Maybe this is like one thing that they do all the time with each other, like, ma-ma-ma-ma-ma, I can't

hear you. And she was super into it. But the memory, what the memory brought up for me was how timid I was and how, how I had to ask sort of permission for my choices. And Gabriel championed that choice for me. And it was a fun thing, I think, that the audience have, like, there's been gifts and people have enjoyed that Donna and Harvey did that thing, you know, that we both did it. But I thought I sort of harken back to a time before I really felt like I could take up space or really have a voice. It was an interesting thing to come up. Totally. Yeah, I really relate to that. I mean, you know, it's scary.

It's scary when you're building a character. It's scary to ask to take a risk. It's scary to make a choice and worry that maybe it'll fall on its face. But thank God you did, because I think it's a great moment. And it does say a lot about your guys relationship. And it's scary to take up time like that time when you sort of have to stop and talk to the director for a second about it and explain it. Like one thing, the most valuable commodity is obviously time. Like we don't have time in the day.

So that was, it was interesting to remember that I felt like I couldn't take that up and it comes up in a couple moments. So I'm excited to share that with you when we get to it. So then Mike wants to fix the problem that he caused with Joy, but Harvey says you don't send a puppy to clean up his own mess. He makes a reference to Travis Bickle in this scene. Did you know who Travis Bickle was? Nope, no idea who Travis Bickle was. Really?

Should I? Taxi driver, Robert De Niro. Oh, mm-hmm. No? Nothing. Have you seen, oh, here we go, we wanna get real. Have you seen Taxi Driver? Taxi Driver, yeah, I'm not a taxi. Yeah. Yeah.

I don't know if it's your movie, if I'm honest. Thank you, thank you. That whole De Niro, Pacino, Godfather, like all that stuff. Wait, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, wait a minute, Godfather. I know, I know, I know, I know, I know what I'm stepping into here and I'm a little nervous.

But like... Well, it's been a great podcast. It's been great doing this with everybody. Good, solid few episodes. Thank you. Thank you. You take care. Good luck out there.

Okay, moving on. Fellow associate Devin gives Mike the nickname Speed Bump and when complaining to Rachel, she teases Mike about needing a thicker skin. Again, Devon's played by Julian Dezatti, who also appeared in Inside Track and Dirty Little Secrets and sadly, this is his final episode. They were doing this thing where they were trying to find like a foil for Mike in all of these first episodes

and so I always felt bad because Julian was great. He was, you know, all these guys were so good. But I just think ultimately there were like too many people to service in the story so they couldn't just keep someone around. Yeah, I think having too many people to service is something that we see in this episode because we see a bit of Rachel here, but we don't see a lot of her in this episode.

And what really struck me was her belt. There's two belts in this. I think we have another belt stand out. Her belt, we got Donna's belt. We had that necklace. We've have a, you know, we have some, we gotta iron out the excess. Again, we're figuring out the show.

It's like, yeah, growing pains. There's some growing pains. I felt so happy to see Rachel and then bummed not to see more of Rachel because I'm still, I'm now invested as a viewer in this relationship. And you know, so when she gave that little look to him on the way out the door, at least I was like...

That has a lot of real estate in terms of keeping you invested. When you get that character's private moment like that at the end of something, you're like, Ooh, I want, Ooh, what's going on there? I want more of that. And I think this show does that very well. We'll talk about it when we get to the end of the episode. But that thing of leaving the audience wanting more, like that look from Rachel,

I think that's strategic, actually, on behalf of characters. You do that as an actor too. Sometimes I feel like if I don't have much to do in a scene or in an episode of a show, I'll look for the private moment that I'll do. Maybe you'll catch it on camera, maybe you won't, but for me, it's there in the editing room.

So, you know, maybe I'm not there for very long, but I can still hopefully leave, you know, an impression like Megan does in this scene. I think Donna was built on those. Yeah, exactly. Like, I think it was always like the exit line, or, you know, just the weird thing that we did when they kept rolling at the end and let us do.

So important. Mike answers a call from Trevor who wants to pay back the bail money, and Mike looks back at his coworkers with whom he can't relate and agrees to meet at a bar the next night. Best line of the episode here, we can crochet pantyhose if that's what it takes to be cool.

I'm really excited that the gentleman in the episode brought us back to hosiery. Can you crochet pantyhose? No. Is that? Crocheting is like a it's like it's it's pretty big right there's a and pantyhose is very. I feel offended that you're asking me like this this grandma moment. I feel like you're asking me that question based on my age. Well, I'm just asking into the world. Like, is this possible? I don't think it's a thing. I don't know if you can crochet them. Meanwhile, Harvey tries to convince Tony the cab driver to back out of the lawsuit. Instead, Harvey has made a co-defendant. Tony seems confident that he can win the suit. Harvey says, I appreciate a good single malt. Doesn't mean I can make one.

Great line. Another solid line. I love this scene. This scene was kind of a sleeper scene for me in the episode. Absolutely. Gabriel was just in the perfect gear. I was like, oh, this is Harvey, like threatening, but not overbearing, sort of charming while he's destroying somebody's confidence, you know, and then a really good person

to play up against them and, you know, who ultimately is kind of winning the scene, even though Harvey's so strong. I just, like, this scene kind of popped out of nowhere. It was a little bit something clicking into place for me, like we were talking about. I think what I liked about this scene is something that Gabriel,

is a choice that Gabriel made that carries into the scene in the courtroom scene, which is just how kind of tickled he is by the, like the rivalry, the sort of sportsman-like vibe that he's having with Jose, that it's just like, okay, may the best man win. This is like gonna be a good, fun boxing match. Like we're gonna go a few rounds and get a good workout, even though the stakes are unfortunately

a lot higher for Jose. And so our show now has to balance like big corporate lawyers going up against the guy who's a cab driver. Yes. Like, how am I going to feel about that? And I think this episode actually does a pretty good job of letting him speak his piece, but also them, you know, having our guys hold their ground too. Yeah. Yeah. Okay, then we're into Act 2. In Act 2, Harvey offers to represent Ray in the lawsuit pro bono, but that means he'll

need Louis' help moving things forward along with the judge. In exchange, Louis wants help from Donna. Donna shuts that down immediately with some beautiful fake crying. Mike unsuccessfully attempts to get Joy's deal back on track and Mike and Trevor narrowly avoid trouble at the bar. And meanwhile, Harvey has no luck with the judge. The trial will begin the next day. So yeah, we have this first scene.

Ray rushes into Pearson Hardman. Donna gets some time with Harvey and she says... But I don't appreciate limitations being placed on my beauty. Um, great line. This scene... I have so much to say about this scene, Patrick. Um, this is one of the first very memorable Donna moments. I think it's really fun that she has it with Rey and that you kind of get to see these two, that they have a ongoing relationship. It's kind of like an upstairs-downstairs sort of vibe.

And I want to preface this before I get into it. We had an incredible crew on Suits over nine years, and we legitimately became a work family. But this day was a bit of a one-off. It just wasn't a great day for me. I think there were some maybe misunderstandings with scheduling. And funny enough, and please please please know that I do think it's funny, this had a little bit to do with my hair. Did you see Donna's hair in the scene?

Yeah, I'm not usually the best at like noticing differences in hair. I ask my wife we get into fights about it often, but I did. Something felt a little off here. Yeah. Okay, so this scene, I remember coming to work and I had been home in LA trying to take care of, you know, the family back home in LA. And I came back to work and I remember walking into the hair and makeup trailer. and there was nobody to do my hair. Like the head of the department was kind of like, oh, you're here.

And there was like a little bit of something going on. And it was clear that my presence was maybe unexpected, that honestly, it seemed like I was really putting them out because I needed to be processed for the episode. There was a little something between the members of the hair department about who was gonna be responsible for me, and it just felt very, very awkward.

But this was some kind of one-off day where a very difficult schedule maybe suddenly got more difficult. So I sit down and something happened that has never happened to me before, and I think the ladies who are listening to this might relate. They put a set of hot rollers in my hair. Like, you know, like, Grandma, like, you roll up the whole set of hair and just sat me there

for a certain amount of time, like under a dryer, and then just set me on to set. So you have these curls that kind of make no sense that are pretty silly. And then they just took hairspray and sprayed them, like shellacked them into place. And I didn't think about it at the time. I just felt bad that I was taking up somebody's time

and space and that they seemed like they really didn't want to deal, right? They were just like, okay, just sit here. Let's just quick do some rollers. Like, okay, get her to set. Whew. Can I ask you real quick? And you're at the, I'm guessing, you know,

given how we were talking about taking risks and taking up space in a show where you don't yet feel like you can, you probably know when the rollers are in your hair at that moment, like this is not right. My hair has never been done like that. I just remember wanting to disappear and be small and be sorry for taking up space.

And I think that is a little bit of a fourth kid trigger. If my sisters are listening, my mom, I love you family. It was great. Like I wouldn't change anything, but being the fourth kid when you're really young is sometimes hard because you can't keep up and you're holding people up and they've got a lot to do and they're bigger than you and you can't tie your shoes.

And like, I felt, I think I have internalized that. Like, sorry, sorry, sorry thing. You know, I think a lot of women experience that in the world too. A lot of us apologize a lot, right? But, you know, in a funny way, looking back on my childhood, I did feel bad about holding people up. And I felt bad when I got to suits,

needing to have my hair done. I felt bad needing to have help tying my shoes. I felt bad taking up these people's time. So when you get to looking at the scene, the hair is pretty funny and especially when Ray and Harvey walk out of the scene, you can see all the hairspray that shallacks that in place. I am also wearing the same dress that I wore in the pilot.

So when I got to work again that day, there were no clothes for me. There was like a, I don't know if the schedule had changed or something, that I wore in the pilot. So when I got to work again that day, there were no clothes for me. And there was like a, I don't know if the schedule had changed or something, but there was like a, oh, you're here. Oh, like we didn't do a fitting. We don't have any clothes for you.

So they put me back in that dress and put a new belt on it. I'm curious about, sorry to, I don't mean to interrupt, but we have this big scene coming up that we both feel very strongly about with you, and it's on the same day. You're wearing the same clothes, you're in the same hair, right? Yes, but they were shot very far apart, and I can get to that. So you have different hair. Yeah, I have totally different hair.

Yeah, like it's more of the vibe. Yes, and I'm glad you're bringing it up because my whole point here is that there was a hard day, and then there was the day that healed. Yeah. is that there was a hard day and then there was the day that healed. And like, this isn't a real, like, I want to be really clear with the listeners, this is not a real problem. Like, not having someone do your hair and not having an outfit to wear on the television show you're on is not a real problem.

What I'm saying is that it triggered in me something that is an old story about, like, not taking up space, not needing anything, God forbid, and not putting anybody out. And it was just like, I felt like I was putting the department head of hair, the hair key hair person and the wardrobe and the person who had to find the wardrobe. I felt like I was putting everybody out by being there. And so when I get to that scene, which is rooted in a really great exchange, thank God

for the writing, because my performance is really dysregulated. All I can see is a dysregulated person who doesn't even, my eyes are kind of moving everywhere. It's not a grounded performance. To me, that's the relatable thing too, is like, you don't wanna take up space, you don't wanna be troublesome, and you just wanna get along and make everybody feel okay

and just make it go quickly. But then ultimately you get in front of a camera and someone says action and it's on you. And if you haven't taken care of yourself and someone says action and it's on you and if you haven't taken care of yourself and at least made your peace with what's happening. Yeah. Because if you're still holding on to like, oh now I feel small and I feel like I didn't get now I don't know if I look right and like does anyone care that I don't look right? But you still have to like then do your job on camera and and I certainly relate to that. And you don't want to

seem difficult for needing something. Yeah. This is a proof to me people liked this scene and people continue to like this scene and the scene plays. So I can't be the judge of my work ever. Right. Because people received this scene. Like, did you enjoy the scene? I love it because I love to see Donna do her thing. I could feel knowing you, I could feel especially in contrast to what we're about to get to, which I think we need to get into now.

Yeah. But like you can see feel especially in contrast to what we're about to get to which I think we need to get into now yeah but like you can see it locked in so now you can see the part where you're like not feeling that way. What we never talk about enough is like on suits like our crew was extraordinary like the way they supported us on hard days people had hard days think hard things happen in their lives and had to go to the work the next day and the way they supported us on hard days. People had hard days, hard things happen in their lives and had to go to the work the next day. And the way the crew was there to lovingly sort of lift everybody up so that everybody could do their job was really, really beautiful thing. Yeah. I want to get right into, you know, what the win from this is, which is this next sequence that we both talked a lot

about. So we're back in Harvey's office. Lewis successfully gets Harvey's case moved up, but in exchange, he wants Donna to cover for Norma while she's on vacation. Harvey gives his blessing if Donna will agree to the arrangement. So Lewis approaches Donna, but she's onto him and she has a lot of fun turning him down. So it's really simple setup of Lewis is gonna go talk to Donna to try and have her come work for him while his assistant is away. It's definitely the highlight of this episode. It's one of these snap-into-place moments and I'd love to hear what you have to say about it. I have a lot to say about this scene. This is the scene that I always reference when somebody

says what was your favorite scene on Suits? And you're like, I can't pick a favorite scene out of 134 episodes. It's impossible, but I can say this was my first favorite scene. And in many ways, it was the scene that I think put Donna on the track for where Donna was gonna go, because it was a scene where she got to mess with Louis,

prove that she had some acting chops. And then at the end of the scene, you find out that Harvey watched that, said, you're really good at messing with Louis, which I knew, but that must mean that you do that to me. And Harvey's character at the beginning of the scene says, she's the one thing I can't give you, right? I don't tell her what to do.

She just does things. Oh yeah, it's not up to me. It's up to her. Yeah, yeah, yeah. And that's very clear. Yeah, yeah, which I love. So the setup is amazing. And technically with this scene,

so this scene wasn't in the episode originally. We didn't shoot it when we shot this episode. We were, this was episode five. I think we were probably into shooting episode seven. And Aaron confirmed this last night when I spoke to him, when we shot this scene, because when we get to episode seven, Donna's into the whole acting thing that Erika Lopez, one of our writers, pitched as being something about Donna's

backstory, that she was very into acting. So what they had in episode five, this episode, was that it had come in short, which Aaron found really funny because it's always that they had been coming in too long, so they kept saying, make it shorter, make it shorter. So then they made an episode that was too short. What he mentioned was that they had the line where Donna says, it's like, my soul hurts now.

He remembered very specifically that that was a Sean Jablonski line. And from there, he said that he loved the opportunities to write scenes that you didn't actually need, because then their job is to write them so well that even though you don't need them, you can't do without them. And he said that this was the first one of those scenes where they had the luxury of being able to do that.

And funny enough, he said that this scene was the father of a scene that comes later between Louis and Donna, which is a scene in the finale where she has the tickets. And Aaron said that that scene would never have been written later on if this scene hadn't occurred. I'm not some token you win at a fair, Louis. So it does sort of show that it was true that it had set up Donna in a whole new way

to be the person who messes like that with Louis, to set up her relationships with other people. And what was funny about getting a scene at one point in the season and knowing that it was going to be put back earlier and having the opportunity to play like this for the first time in the series, that on its own kind of healed the dysregulation that I had from that first time. And, you know, happily, Donna's hair looks pretty good at this point. That's all that really matters. After all that, the hair looks great. And moving on. And the hair. Everything you said is so right.

I think what my experience of it was, put really simply, Donna was relegated to like quick one-liners before, and now you got a scene. You got a scene where it wasn't like, well, we got to cut away from this because it's not meat on the bone. It's not plot development. So we got to just like let Donna say something sort of quick, which was that scene with Ray before. Quick funny line, get the character moving into the other room so we can move the plot along.

In this scene, it was like, let's just let them have a scene and take a joke and then ramp it up and then ramp it up and then ramp it up. And let's watch Lewis curdle under the weight of this emotional wellspring you're having. And then the punchline is like, let's rack focus over to Gabriel and have Harvey suddenly realize that Donna has done the same thing to him.

It's like a joke. The whole scene is like a great joke told well, right? It's character over plot. And it's the first time where the character of Donna is allowed to really fly. JG Yeah. And you're right,, doing this is actually easier than that previous race scene, which is like,

just make this line work. The line being, I don't like limitations being placed on my beauty. Just come in, do that. Do it real quick. Let's move on. You're right. Well, I think just to put a pin on this scene, like, it's just so cool to see.

I love that Kevin directed it. Kevin obviously directed our pilot, and he's really responsible. Not that Kate didn't do a beautiful job with this episode, like, it's just, it's so cool to see. I love that Kevin directed it. Kevin obviously directed our pilot and he's really responsible. Not that Kate didn't do a beautiful job with this episode, but you can feel something fundamental, foundational to the beating heart of our show. We kind of discover a moment and I think it was, it was really great and really important.

And even the last beat of this, I want to tip my hat even further to Kevin. I absolutely remember the moment when he was shouting that he left the cameras running and he was like, look over your shoulder and just say, yep, just say that. And I was just like, and I felt like quick, do it, quick, do it. And I just said, yep. But it was the perfect button. Yeah. Back at the bar, Trevor suggests to Mike and the ladies that they move to a new location, and as the party leaves, they're watched by Victor, the drug dealer from the pilot. Mr. Hot Dog Cart Warehouse, which I know brings up a lot of things for you.

Outside looking for a cab, Mike asks Trevor about the thugs in the bar. Trevor evades the questions, and Victor and his shady friend fight and Mike's business card abandoned on the table and they decide to get Trevor through Mike. And then Mike is in bed with a beautiful woman. They're both naked and then there's a song that needs to get the Greenback Boogie Award because it is clearly trolling him with something about Don't Be the Underdog, Don't Doubt the Underdog. What were those lyrics? So the lyrics to start that song, follow the underdog, Don't Doubt the Underdog, what were those lyrics? So the lyrics, to start that song, follow the underdog, hold on his collar tight, this city loves a scrap, one day it's gonna fight.

Thank you, Kristen. Kristen, our firm's best researcher with the perfect quick Google on the lyrics. I think we needed that to understand that Mike just got lucky. Well, I find that funny because this is the second time where Mike's kind of had a good time. Right? Like Mike is doing something that Harvey does in the pilot and everybody thinks he's the coolest guy in the world, right? With the

cocktail waitress. But when Mike does it, it's like, no. It's like he's going down the dark side you know it's so bad and I think I don't really remember my specific reaction to it but watching it I'm a little defensive I guess of my of Mike just being like the guy just had a good time obviously Trevor's bad news obviously we got to get him out of Mike's life because he's dragging him down but at the same time I'm like is Mike not allowed to have a good time out on the town without it being used against him?

Maybe not with Trevor. Well, yeah. My mom has decided that she's gonna start watching the show while we're watching it, so she's sending me notes every week, this is the first week I got notes from my mom on the episode. One of her top notes was Trevor's gotta go. Do you think your mom would join us for a pod?

I don't know. I don't want to speak for her. I think she'll enjoy just sending in notes from the sidelines for now. Okay. And there's something about my mom in written form that's really delightful too. It's very specific. So I'm going to enjoy that for a while. But yeah, maybe we'll get her on the show. My mom is really specific in written form too, because she was an English teacher. With my mom, it's different.

I'm asking for the notes to strictly be written after a martini. Oh. I don't want them before the martini. You can have the idea before the martini, but I'd rather the note be written post-martini, because then it's a little loose. Oh, martini's with mom.

That's a segment right there. Let's keep going. We're into Act 4. Harvey pulls a Harvey and magically saves the day with Joy and the licensing deal. And later in court, Tony and Harvey go toe to toe when Harvey's examination of Tony results in winning admission. Harvey offers to settle. Then Mike gets another distressing call about Trevor.

Wait, did we mention that we got the use of the sidebar? Oh, yes, there is a scene in the courtroom when they sidebar, what we were talking about when they have their emotional, their moment where they solve their problem in the middle of the courtroom. That is the first use of sidebar. I got excited. They said sidebar. I feel like we're in the fifth episode.

Are we going to count these? Let's count them. Sidebar. And when I say let's count them, let's ask Kristin to count them if she can. Because math is hard. Yeah. So we get to wrap up this Joy storyline. She's got her kids running around her and her grandkids, rather, running around her. And turns out she doesn't love this new life on her Tahitian cruise or her family life. You know, oh I'll give up my

whole life for my kids. Oh wait a minute grandkids are tough send me back to work. It's a little bit of a statute of limitations here I just want to say like there's a little bit of a trope at work here that's a little bit like, well, actually, you know, women are built to multitask. If you know a woman, she's great at multitasking. This woman has a lot of plates to spin. Some of them may break in her house. She's not going to care. She's going to just pick up the pieces and handle the chaos.

And then that previous scene where she said, you know, I'm not going to do this licensing deal because I want to go do this licensing deal because I wanna go on a cruise to Tahiti or go on a trip to Tahiti. It's like, does she need to pack a steamer trunk and be gone for four months? No, just take a vacation. Bro, go on your trip. Again, yeah, like we've sort of belabored the point,

but she's not making great decisions, but it is fun to watch our guys, it's fun to watch Harvey solve a problem by coming up with something really quickly like surround you and all of your grandkids to let you know that family life can be stressful too and maybe you enjoy your job. Yeah but she can bring home the bacon and fry it up. So later in court Tony Santana has a strong start in the civil case but Harvey has an even stronger defense. In the end, Harvey's examination of Tony reveals the truth. Tony ran the red light. Oh my goodness, Tony. Great scene though. I really love

this scene. I really like the line where Harvey says statements are like free throws. They're easy. Nobody's playing defense. Great scene. I'm always, again, I don't know even what we're calling these things where you're like, legally, is this't know even what we're calling these things, where you're like, legally, is this a thing that people do? But they just sort of stop and start having a very heart to heart conversation in the middle of the courtroom. And then they get to a settlement and they figure it all out. I'd be interested if the lawyers who watched Suits were bumped by that

or if they just thought it was a fun device, you know? I think one day we should have a lawyer on to hear about things that bump them and things that. Yeah, I would love that. I would love that. Because I'm sure they just when you watch a law show, you have to just go, yeah, I'm just giving up all of it. Like, it's just it's it's fantasy and that's fun. That's why we watch these things. Do you think doctors watch doctor shows? I'm sure they do, but I'm sure they laugh at it and enjoy it.

Well, Harvey offers to settle. He only wants what he always wanted for insurance to handle the matter and he won't collect fees. Mike's phone rings out loud again. So Mike doesn't know how to silence a phone. He steps out of the courtroom to take the call. It's Victor calling from Trevor's phone. Trevor owes them $50,000 and if Mike doesn't bring the money in an hour, they'll take it out on Trevor.

Mike finally tells Harvey everything and Harvey comes to Trevor's rescue. Finally, Harvey delivers a unique gift to Mike from Joy. Guys, this is the Mike Ross doll. We have a question about the Mike Ross doll from Geraldine. What happened to the doll of Mike Ross? That would be a great memento of season one. Geraldine, you're not wrong. Kristin agreed. She has spent the last three weeks, maybe, calling every single prop person that's ever worked with Suits, every producer, every person that was in charge of what happened to the props after Suits shut down. We have not been able to find the Mike Ross doll. So we're sending it out into the world on this podcast. If anyone, we're gonna figure out what the reward is,

but if anyone can bring us the Mike Ross doll, there's a handsome reward in it, to be sure. The doll itself being the handsome reward. Yeah, maybe, no, no, no, no, no, no. We need the doll for us that needs to belong to us, but you'll get something great. Oh my God, what would you do with it if you had it though? I don't want it.

I don't want the doll. I think we collectively should have it. No. Or maybe Kristin should have it. I don't know. I don't know what it is. We don't even know why we want it, but we just want it because it belongs, it needs to come home. Mike, you need to come home.

And then Harvey and Mike getting into Ray's repaired black car. All is well. We hear Fool No More by Eddie Hope again. And this just brings up one thing from this episode that did make me sad, which is, you know, Ray. We don't get to see him again. I know. But it did bring up the question of like, what happened to Ray?

Is he still the driver of Harvey? Every time we get into the car on this show for the next seven seasons, are we meant to believe that Ray is just up front and we're not seeing him or speaking to him? It made me a bit sad getting to the end of this episode knowing like, oh, that's the last time we hear from Ray. Yeah. Yeah. So that's the end of our episode. Closing statements, I think we've said it already. I found it to be a really interesting episode. There were things that I struggled with.

I loved bringing Trevor back into the mix. I like the challenges that poses for Mike. I like seeing his old life yank him back in. I love Ray, but I'm bummed we don't get to see him again. But really the highlight of the episode is that incredible scene where you and Louis and Harvey, specifically really you and Louis, specifically really you, drop into this whole new mode. And I think you can see the, like,

clear place this show needs to go. Yeah, and I think watching it, and especially talking about that scene, I just think I'm overwhelmed with how grateful I was to have just had the opportunity to play that scene and just think about having Rick there and having Gabriel there and just the writing and just how everything came together in that way.

And definitely did have one of my probably all-time favorite lines that I said on Suits in it, which is that my soul, it's like my soul hurts now. I'm excited to be reminded of those other ones as we go through, because that's another question that people ask me all the time. Like, what's your favorite line? There are other great ones in there

that I'm sure I'm gonna find along the way, because we did, we had these writers that were just, I mean, they just sprinkled us with fairy dust, you know? Like I said earlier, it's really interesting to just be kind of charting the ebbing and flowing of the characters and we'll be able to continue to see that because now we've left this episode wanting more of Rachel, wanting more of Jessica, and I just haven't really thought

about how hard the calculus must have been for our writer's room to actually figure out those things all the time. The balance of all that. Maybe talk to some writers eventually other than Erin, that would be great too. So my mother sent in her notes, she called it the mother load, which I think is funny. Haven't quite decided whether having three separate and such disparate storylines, four if you count the setup with Mike not knowing the Harvard song in one episode is riveting or confusing. Did manage to keep up, barely in parentheses. Thought the guest stars playing the taxi driver, the toy company CEO and Ray were exceptionally good.

Guess more is good and keeps viewers wanting more, but please ditch Trevor. Hats off to casting and to the person responsible for the pacing of the episode, which is my favorite. The idea that there's just a pace person. That's my favorite. And my mother obviously also wants to know what happened to the doll. So whoever has it out there, my mom wants it

and you don't want to mess with my mom. Okay, so do we have a goddamn count? What are we? Oh, do we want to guess? We've always been guessing. What was your guess for this episode, Sarah? I thought there was one. Oh, I think there's much more than one. I'm going to go with four. There were three this week. Goddamn ticking time bomb. Is this like, uh, price is right if I go over I lose? Yeah, I'm sorry Patrick.

That's fair, that's fair. Okay, so that's a wrap on bailout. Thank you so much for coming back and please join us next week when we chat about season one, episode six, tricks of the trade. And as always, we wanna hear from all of you. If you have questions, thoughts or ideas or else you want to hear about on the pod

please send your emails to sidebarpodcast.seriousxm.com and if you want to record an audio clip of your question we would love that. Then we can play it on the show. Sidebar is produced by Sarah Rafferty, Patrick J. Adams and Sirius XM Media. Our senior producer is Kimmy Gregory, our producer and researcher is Christian Schrader, our sound engineer is Alex Gonzalez, and our audio mix is by Eduardo Perez. Our music is by Brendan Burns, and our executive producers are Cody Fisher

and Colin Anderson. Thank you guys so much for listening, and we'll see you next week. You